A Stick-and-Poke Tattoo Kit. You Have Got to Be Kidding.

 Gang, I wrestled with the need to write this article.  Some of you will skim through this and decide to buy this product.  Please... PLEASE!  Read what I am saying here.  This is simply a bad idea.  Inevitable, yes, but still bad.

 Here's the idea, based on what Stick and Poke Tattoo Kit (that's the name of the company) tells its potential patron up-front.  Tattoos done at home by amateurs are dangerous.  They tell you that the possible dangers include:

 -Blood Borne Pathogens

 -Toxic Ink

 -Inadequate/Unclean Supplies

 -Dirty Needles, Ink, or Thread

 Let's discuss these dangers for a moment.  Blood Borne Pathogens are generally a concern when you are dealing with multiple people getting tattoos.  This is why tattoo studios strive for cleanliness and use aseptic techniques.  Keeping things clean reduces the likelihood of cross-contamination and the spread of blood borne pathogens.  "Toxic" ink must refer to inks that are manufactured cheaply and with little concern about the potential effects of the materials used on the human body.  Inks purchased on-line from unknown sources are often of a low-quality and their safety is suspect.  Inadequate or unclean supplies are a concern when dealing with "kitchen magicians" that use whatever they have around or re-use the tools they have to administer a tattoo to multiple people.  Dirty needles, ink, and thread are right in-line with the previous point.

Because this can happen.

 The solution, dear readers, is to not get tattoos from an amateur "tattoo artist" working from home. And, guess what you are when you administer your own tattoo at your kitchen table! Do not get a "stick-and-poke" tattoo.  Just don't do it.  Get tattoos from professionals in a licensed studio, and if you want to be a tattoo artist have respect for yourself, your clients, and the industry by learning to do so safely and properly through an apprenticeship.

 Companies like Stick and Poke Tattoo Kit only compound the problem.  A kit which provides "professional" supplies to allow you or your friends to tattoo you is a completely irresponsible grab for your money with no regard for your safety.

 The kit includes 1/2 oz of "professional" tattoo ink.  Before we get into what "professional" means, can you be certain?  We are dealing with a company that is encouraging people to engage in an unsafe practice, going against every industry standard in order to make a buck.  Can you trust these people and what they say about anything they offer?

 "Professional" simply means that it is a product most commonly used by professional tattooers.  Generally, such inks come from known and reputable manufacturers who have earned the trust of their patrons through the consistency and performance of their product.  The brands of ink displayed on the Stick and Poke Tattoo Kit site are none that I recognize.  And, I write BRANDS in the plural because there site features at least three different bottle and label types, suggesting at least three different manufacturers.  You cannot even be certain that the product you receive is the product pictured on the site, let alone that the inks are anywhere near the quality used by professionals (protip: that probably means they are not).

Luckily, most of this will fall out.

 You get a 5RL and a 3RL needle.  In the photo, it appears that they are in blister packs common to the tattoo industry, sealed in sterile inert gas.  If so, they are clean... at least until you open the package.  What happens then?  Does Stick and Poke Tattoo Kit assume that everyone knows how to handle the needles in order to keep them from getting contaminated before they are used and while the tattoo is being administered?  Their instructions don't mention how to handle the needle.  These needles are designed for use in a tattoo machine, not to be held in hand.  What is the likelihood that the needle will slip while someone is poking themselves with it?  Fairly high, I would imagine.  When that needle comes into contact with the floor, the kitchen table, or any other non-antiseptic surface, you are inviting problems.

 The kit also comes with two nitrile gloves.  Ask a tattoo artist how flimsy gloves are, and how easily they rip.  This is why a tattoo work station includes a container filled with gloves.  Now imagine holding a thin needle bar in your hand and trying to poke yourself with the needle without sliding down the bar and tearing the glove on the solder point for the needle group.  Will the persons purchasing this kit have the sense to buy extra gloves, or will they just continue the procedure without?

 The aftercare balm is called "hustle butter".  I could point out that again you need to question the source, but need I say more?  Who is being "hustled"?

 You also get gauze, a band-aid, a witch-hazel wipe, two ink cups (aren't those the paper condiment cups used as fast-food restaurants?), a medical surface covering, and an instruction book.  A PDF of the book is on their website.

 The instruction book is 28 pages long.  THE FIRST FIVE PAGES INCLUDE WARNINGS ABOUT THE RISKS OF USING THIS KIT!  Stick and Poke Tattoo Kit clearly does not want you to seek legal damages from them in the event that their product harms you.  They can point to their book and demonstrate that nearly 20% of the information provided was a warning not to use their product.  Buyer beware!

Gorgeous, huh?

 The funniest line in this book is on page 8; "Tips for Your Design".  The sixth and final tip is "consult a professional".  WHAT PROFESSIONAL TATTOOER IS GOING TO ASSIST SOMEONE IN DESIGNING THEIR STICK-AND-POKE TATTOO?  That's right, gang, not one.  You walk into a tattoo shop and ask about advice on your DIY stick-and-poke tattoo design, and the best you can hope for is a lecture about what a moronic idea that is.  This simply points to the probability that the makers of the Stick and Poke Tattoo Kit have no experience with the tattoo industry and is out to simply make a quick buck.

 The instructions include some real gems as well.  "Create a clean area" (but no information on how to properly create a clean area).  "Poke the skin with amount of pressure enough to puncture only the top few layers of skin" (how do you gauge that without any training or experience?).  They also make some solid suggestions that most people will never follow, like take your sharps to a proper sharps disposal facility or mark your container for your used materials with the word "biohazard".  The people who are cutting corners by getting this kit are already beyond any sound advice regarding public safety.

 It is this kind of product that actually threatens the industry as a whole.  Tattooing has gained legitimacy in our society by demanding a rigorous adherence to safety by those who practice the art.  Enough DIY tattoos gone wrong and we will find professional tattoo studios driven back underground as legislators are given an excuse to demand tighter restrictions.  Just keep in mind that the person who purchase a tattoo kit to give themselves a tattoo probably has an idiot for a tattooer.

 Jason Sorrell is a writer, tattoo artist, satirist, artist, and generally nice guy living in Austin, TX.  He loves answering questions about tattoos.  Shoot him a message at https://www.facebook.com/tattoonerdz/

"Sailor Jerry's Tattoo Stencils" Books I and II

  Before you buy "Sailor Jerry's Tattoo Stencils" by Kate Hellenbrand, you need to understand the title.  I recommend that any aspiring tattooer get a copy of these books, but you need to know what you are getting. This is not, technically, a collection of Norman "Sailor Jerry" Collin's flash.  Rather, these are actual transfers from those flash designs, the first stage of the actual tattoos.  What you will get are raw, unadorned examples of the very foundation of a tattoo.  This collection gathered by Kate "Shanghai Kate" Hellenbrand, demonstrates the root of the "American Traditional" tattoo design, the style that many tattoo purists describe as the defining style of a "good" tattoo.  

 The American Traditional tattoo style developed not from an aesthetic choice, but rather the limitations of the tools used to take a design from paper to the skin.  Before the advent of the thermograph transfer, tattooers would cut their designs into a thin, plastic sheet.  Grooves cut into the acetate would be filled by rubbing graphite into them.  The skin was prepared with a thin coat of petroleum jelly.  The acetate stencil would be laid onto the skin, transferring the graphite from the stencil to the jelly.  This provided a fragile pattern for the tattooer to follow with his needle.

 The nature of this process limited the complexity and detail of the designs.  If a design was too intricate, it would be difficult (if not impossible) and extremely time-consuming to cut into acetate.  Thus, American Traditional designs are defined by simple, bold lines, with often no more than two to three line-widths.  The transfer process and materials also limited selection.  Tattoo designs tended to be limited to what was popular to those getting tattoos in those early years; Naval or other Military images, primitive pin-up girls, and well-known cartoon characters.  The same acetate stencil would be the basis for multiple tattoos, with variation introduced during the tattoo process.

 Color in these tattoos, usually red, green, blue, yellow, and black, were also limited by the technology of the time.  Tattooers often made their own ink, and there were limits to what could be successfully and economically produced.  Again, the American Traditional style was a result not of aesthetics, but of the practical limitations of the technology of the time.  These limitations came to set the expectations of what a tattoo should look like.  Today, technological advancements allows for a variety of styles to be replicated in the skin, but "Tattoo Art" has become defined in the social consciousness as consisting of strong lines, a bold but limited color pallet, and traditional subject matter.  Put simply, this style is recognized as a tattoo, regardless if it is in skin or on paper.

 These collections offer insight into the foundations of an art form.  With an understanding of the technical limitations, they also highlight the innovative and creative talent of Sailor Jerry.  While these books will have very little value to most tattoo clients seeking a design, they represent an excellent resource for the tattooer who wishes to create tattoo designs rooted in traditional methods and recognized as tattoo art.

 Jason Sorrell is a writer, tattoo artist, satirist, artist, and generally nice guy living in Austin, TX.  He loves answering questions about tattoos.  Shoot him a message at https://www.facebook.com/tattoonerdz/

Size Matters

 

A tattoo that fits the calf.

"But, Tattoo Nerd, it's not the size of the ship. It's the motion of the ocean, right?"

 That is not what I am writing about, my little friend. No, what I am writing about is the size of your tattoo. One major cause of 'tattoo regret' is getting a tattoo that is too small. Getting a tattoo that is too small is a common mistake when people first start getting tattoos.  Whether it is a matter of wanting something small to get past the "unknown" factor, or a matter of expense, first-timers tend to lean toward tiny tattoos.  For many tattooers, the little tattoo that someone gets because they felt the urge to walk-in and "just get a tattoo" is their bread-and-butter.  However, when given the opportunity, most tattooers would prefer you come in and get a tattoo designed to fit the place on your body you want.

 You may be thinking that a tattooer wanting to do a larger tattoo is all about the money.  While it is true that a larger tattoo will typically cost more, that is not your tattooer's primary motivation.  Your tattooer wants to do a tattoo that looks good.  Especially if it is your first tattoo, your tattooer knows you are going to tell your friends and show-off the tattoo.  They want their work to be well represented, and they want you to come back for more tattoos.  Tiny tattoos have their place, especially for women who want that accent tattoo behind their ear or on their hip.  The size of the tattoo should be determined by the location on the body.  A tiny tattoo may be expertly executed, but if it is floating in a large, empty space, it simply does not look as good.  As a customer, you may think initially that a small tattoo is a good way to start or the best for your budget, but odds are that you will regret your choice and blame your tattooer for allowing you to make it.

A tattoo designed to fit the shoulder and arm.

 So, what then is the "right" size for a tattoo?  When determining the size of the tattoo, the tattooer will take in to consideration the natural frame formed by the shape of the body-part being tattooed.  This frame most often matches the muscle-mass beneath the skin.  The frame of a shoulder tattoo is defined by the shape of your Deltoid muscle, and may extend down your arm to form a "sleeve".  The Gastrocnemius and Soleus muscles form the frame of the calf, and may extend down your leg and wrap around to form a "sock".  The Pectoral muscle forms the frame for a chest tattoo.  A tattoo that sits atop of any muscle mass that does not make full use of the shape of the mass (both positive and negative space) will appear to float haphazardly in that space.  Taking into account the size and shape of the muscle mass demonstrates an intentional placement and is more visually pleasing.  

 When getting a tattoo, it is easy to forget about the location when thinking about things like the design and the meaning of the symbol.  A reputable tattooer will discuss with you the importance of size relative to the place you want to get the tattoo, and it is advice you should take into consideration.  Even if it means that you may spend a little more money for a larger tattoo, your tattoo is an investment in you, one which will hopefully be with you for life.  You will want to see your tattoo and know you made a good choice, instead of looking at an ill-fitting tattoo and wondering what you could have done differently.

Jason Sorrell is a writer, tattoo artist, satirist, artist, and generally nice guy living in Austin, TX.  He loves answering questions about tattoos.  Shoot him a message at https://www.facebook.com/tattoonerdz/

Tattoo Ink Expiration Dates

 Tattoo Nerd,

 Does tattoo ink really expire?

 -Mike

 The answer is both yes and no, but more yes than no.

 Ink is simply a pigment (heavy metals, oxidized metals, plastics, or other materials), mixed with a carrier fluid (usually an alcohol like ethyl alcohol or glycerin and/or distilled water).  The majority of tattooers use pre-dispersed ink (pigment that has been mixed with a carrier, or is wet) sold by a trusted manufacturer.  A few tattooers mix their ink themselves.  Materials are selected based on what will produce the brightest possible and longest lasting color, what is least likely to induce a severe reaction in the body (all materials produce a reaction, resulting in the permanence of the tattoo), what will most easily and evenly go into the skin, and what will be cost-effective to produce.

Expiration Date on Eternal Ink

 Technically, inorganic pigment materials have no expiration.  The carrier fluid will eventually evaporate in most ink-bottles.  The plastic of the bottle and seals will break down enough in time to allow the evaporated fluid to escape.  In theory, adding more carrier fluid to a bottle of ink that has dried out would result in usable dispersed ink.

 But, that is not the way to go.

 Tattoo inks are regulated by the FDA, but it is a regulation that is rarely exercised.  This is because the Tattoo Industry has become very good at self-regulation.  The "shelf-life" of tattoo ink is often around two years, with most tattoo studios using up more common colors well before the expiration date.  The best-practice in reputable shops is to throw expired ink away.  

 The idea of recharging a dried-out bottle of ink may be one considered for monetary reasons.  After all, tattoo ink is one of the most expensive fluids on the market.  On average, a one ounce bottle of premium tattoo ink costs between $8-$10.  For the sake of comparison, an ounce of petroleum for your car is about $.02.  At the time of this writing, an ounce of silver (the precious metal, not silver ink) is about $15.  Again, despite the cost of ink, "recharging" is not the way to go.  Studios that do mix their own ink do not do so for monetary reasons, but rather to have greater control of the color selection and quality (disbursement, longevity) of their ink.

 While the materials in tattoo ink do not technically expire, they can become contaminated.  Assuming that the ink was bottled and sealed in a sterile environment (which may not be the case with some ink manufacturers), ink is exposed to contaminants as soon as the seal is broken.  While the rate of contamination is slight with a bottle that remains capped when not in use, the longer the bottle sits the more contaminants it potentially contains.  When fluid is lost from the bottle, by pouring ink from it for use or due to evaporation, air from the environment replaces the volume of fluid lost.  In the average tattoo studio, that is air which has been in the lungs of several people and has been contaminated by blood-plasma and other organic particles that result from the tattoo process.  

Expiration Date on Intenze

 The expiration date, while arbitrarily determined based on the shelf life of the container and in order to prevent external regulation as well as meet local health-codes governing the tattoo industry, serves as an excellent guide to help minimize the possibility of contamination placing a client at risk. Though the risk is extremely slight, anything we can do to reduce the risk is better for our clients and the industry as a whole. You are best served purchasing ink from manufacturers that use expiration dates, by checking your bottles on a monthly basis, and re-ordering inks that are about the expire in what is hopefully the rare time when an exotic ink nears the end of its shelf life. 

 As an addendum, the best way to know what is a reputable source of ink is to take a look at a few tattoo studios in your area.  Tattoo studios, to stay competitive, quickly move to new products or techniques if it appears that those products give another studio or artist an advantage.  If you don't see your ink (or the ink of your tattooer) being commonly used in other studios, it is best to ask why.  Cheap inks cause more problems than they solve.

 Jason Sorrell is a writer, tattoo artist, satirist, artist, and generally nice guy living in Austin, TX.  He loves answering questions about tattoos.  Shoot him an email at https://www.facebook.com/tattoonerdz/

Friday the 13th Tattoo Specials; What You Need to Know

 Bargain hunters, rejoice! Every year it seems that ever-more tattoo studios are running specials on Friday the 13th. You can get a tattoo for just $13! But, before you start planning your tattoo-sleeve design for the next Friday the 13th, there are some things you should know.

 Tattoo studios do this to increase awareness of their businesses.

 Think of it as a wine-tasting at a winery, or samples being offered at a bakery. You are getting a little taste of what the tattoo studio has to offer, a sample. The tattoos being offered are small and limited to a select set of designs in order to make the process efficient. The tattooers want to take this time to show-off the studio, let people check out the atmosphere of the shop and their techniques, and introduce themselves to potential new clients. This is a great time for tattoo collectors to check out portfolios, visit shops, and talk to artists about future projects. Plus you get a nice new tattoo.

 What you can get tattooed will be extremely limited.

 As mentioned above, this is meant to be a chance to sample the work of the studio. Friday the 13th specials are generally $13 for the tattoo and a $7 set-up fee (things go faster if they don't have to make change, thus the total is an even $20). The tattoo you can get will come from a select set of tattoo flash-sheets, often a jumble of small designs. There will probably be a limit to the number of colors you are allowed to have in addition to black (often just two), and you will probably only be allowed to get the tattoo on certain parts of the body (generally no fingers, faces, necks, feet, or genitals). The size of the tattoo will be limited to the size of the design on the sheet, and the only modifications that will typically be allowed are those that take away from the design (such as dropping the number 13 from a design). The point is to make the process efficient; you pick a design and it gets tattooed.

 Pro-tip: the smaller the designs offered, the better the shop (typically). This is just my observation, but the better studios that do a Friday the 13th specials tend to offer a sheet or two full (and I mean FULL) of small tattoo designs. This is a decision driven by experience, more popular shops have heavier traffic on days when they run specials, so smaller designs make the process faster. They are popular shops BECAUSE the quality of work and the atmosphere of the shop are better than their competitors. Smaller designs equating to a better shop may not always be the case, but it is a good indicator.

 Do your research.

 Getting a tattoo is the ultimate way to judge a shop, but it helps to plan ahead. Visit the shop you want to check-out and ask if they are having a special (ideally, do this the beginning of the month a Friday the 13th falls in, not six months out). Ask what kind of traffic they expect to have, and if they have a flash-sheet prepared for that day. Pick your designs in advance, if you can, and if you plan to visit multiple shops, come-up with a game plan taking into account how busy they may be.

 Arrive early.

 There is an old saying, 'the early bird gets the tattoo'. Okay, maybe it doesn't go quite like that, but it is a good idea to arrive early. For example, at Little Pricks Tattoo in Austin, Texas, they started the day at noon, and by 6pm had to close their waiting list at four pages in order to get everyone who signed-in tattooed! People had to be turned away. Getting there early is a great idea.

 But, there is something to be said for not arriving too early. Another reason not to be late is fatigue. Doing numerous small tattoos can wear a tattooer down faster than one large piece. However, since tattoo (like any art) is a physical exercise, it is always better when the athlete has warmed-up a bit. While a good shop will have great artists who are consistent in their work-quality, it could be argued that the tattooer will hit their sweet-spot after the third or fourth tattoo (in this marathon-type situation).  Not a rule of any kind, but something to think about when getting in line at the door before the shop opens. Maybe let a few guys get in line ahead of you. 

 Be prepared.

Tattooer: Kyle Giffen

 You can really help your tattooer by being a little prepared. In addition to knowing what you want, know where you want to get it. If you are a hairy guy like your favorite tattoo-nerd, maybe give that area a trim. You may be there a while, so have something to do for when you have already walked around the shop a few times checking-out the art-work and looked through everyone's portfolio. Be prepared to step-out to a convenience store or restaurant for a bite to eat. If you have questions for your tattooer, have an idea what you are going to ask. If you want to talk about a future tattoo, bring your reference designs or anything that might help you explain to your tattooer what you want.

 Be courteous to your fellow collectors.

 If you are at a good studio, it is going to get crowded.  Try not to crowd the front desk or stand too long in one spot in the shop. Give other people a chance to sign-in, conduct their business, and check out the shop. If you are going to eat, step outside. It is great to be enthusiastic about being a part of the tattoo-tribe, but don't be too pushy about interjecting your ideas when you hear someone else having a conversation with your tattooer. When someone is getting a tattoo, that is their time with the tattooer, so keep your chit-chat to a minimum and save your questions for when you are in the chair if you can.

 Be respectful to your studio.

 You know why it is called a special?  Because there are special conditions, and it doesn't happen everyday. $13 tattoo day is not the time to negotiate price on your selected tattoo. Trying to get a price better than $13 is just not cool. Be flexible about your spot in line, if you are not around when your name gets called they are going to go to the next person, but you will be moved to the top as soon as you get back. Let your tattooer or the shop-help know if you are stepping-out for a smoke, adjourning to the restroom, or going down the street for a bite to eat, especially if you are getting close to your turn. Ask about taking pictures, especially while the tattooers are working on someone else. Understand that you are encouraged to wander the shop, but stay out of work-spaces,

 And, if the studio you are at is fully booked, don't ask if they know if another shop is running the same special! That is just poor tattoo etiquette!

 Also, a huge THANK YOU to Little Pricks Tattoo for letting me visit, to Kyle Giffen for my awesome new tattoos, and for just being a great tattoo studio. Check them out at LittlePricksTattoo.com!

 The next five Friday the 13ths are...

 May 13th, 2016

 January 13th, 2017

 October 13th, 2017

 April 13th, 2018

 July 13th, 2018

 Jason Sorrell is a writer, tattoo artist, satirist, artist, and generally nice guy living in Austin, TX.  He loves answering questions about tattoos.  Shoot him a message at https://www.facebook.com/tattoonerdz/

Rebirth of the Green Monster, Birth Defect?

 I love Eikon Device's Green Monster coil tattoo machines. They are great machines at a relatively low price-point (less than $200). They include the innovation Tru-Spring armature bar and springs and separate the coil from the capacitor for simpler maintenance.  Their performance is consistently excellent.  

 To be fair, these were also the machines being talked about as THE standard for production machines when I was learning to tattoo.  Maybe Eikon simply did an excellent job in marketing the machines, or maybe they really were the first to do something radical like take specific measurements of machine speed, performance, and the way that the various components of the device worked together.  The Green Monster did seem to have a major impact on the industry, creating a need for power-supplies that offered a measurement of your machine's output instead of just a 1-10 power-setting.  It also seemed to create an awareness among tattooers regarding what precisely their machines where doing and why. There are better coil machines on the market today, but I would argue that the Green Monster defined the standards upon which many of those machines are based.

The Original

 Naturally, when I received an email from Eikon Device offering an updated version of the classic Green Monster, I was excited. The big change is the coil-position on the frame; they are moved forward on the frame-base to improve the performance of the machine. Everything else about the machine is fairly standard.  They do offer the additional sales pitch about every machine being "hand tuned by Mack Bregg".  That was the first red-flag in my mind, albeit a minor one.  Who is Mack Bregg, and how does he know how I like my machine to perform?  What tattooer in his or her right mind starts tattooing with a machine straight out of the box without checking it and making adjustments?  Are we also to expect that whatever Mack did with the timing-screw actually held while the machine was being jostled through the shipping process? 

 This, however, is the real issue for me.

Yeah, like this one.

 What is that?  It looks like a rubber medallion set in the machine frame. Maybe it is a medal stamp, but whatever. Look at the space between the edge of the medallion and the frame itself.  Now, imagine what can get in there.  It is a bacteria trap!  How are you supposed to clean that? While it is not a huge design flaw in regards to performance, it is major step in the wrong direction when it comes to ease of maintenance with the machine. The original Green Monster had no adornments; simplicity and efficiency made the machine what it is.  I want this machine, I really do, but Eikon may as well have just welded one of those gaudy belt-buckle face-plates to the uprights on the frame.  That medallion makes just about as much sense.   

 In conclusion, IF I do actually get one of these machines (and it is a big if), I know I will want to see if I can pop that thing out of the frame.  I know how important branding is, and getting away from the green paint-job is a plus for myself and other fans of the Green Monster, but, really?  It is a near-miss, Eikon Device, and you lost points because you went for a little flourish on the end.  

Jason Sorrell is a writer, tattoo artist, satirist, artist, and generally nice guy living in Austin, TX.  He loves answering questions about tattoos.  Shoot him a message at https://www.facebook.com/tattoonerdz/

Is Your Significant Other Holding You Back?

 Tattoo Nerd,

 I started dating this girl shortly after I finished my apprenticeship.  We've been together for almost two years now.  I feel I was honest with her about the realities of being a tattooer; long hours, that I was just starting out, that I wasn't going to always have money, and she seemed to understand and even encourage me at first.  Lately, though, she does nothing but complain about my "hobby", the people at the shop I work at (fellow tattooers and customers), and tells me I "should get a real job". What do I do to convince her that being a tattooer is a "real job"?

 Yep, that sucks.

 Let's start with a disclaimer.  I am not a romance expert.  My past is a long-list of broken relationships and often angry women.  I am not the guy to go to in order to save your relationship.  That said, your concern is a common one, something I have both witnessed among others and seen myself first hand.

 Years ago, when I was considering becoming a tattooer, I was dating another artist.  I was working in a warehouse at the time and she was a painter.  She was used to a moderately high-standard of living, her parents where well-off and provided for her in many ways.  We talked about moving south, and I began discussing becoming a tattooer.  She was almost immediately put-off.  Tattooing was too "low-brow" for her tastes, and she was concerned about all the nude women I might see.  When I asked if she would have the same reservation (about nude women) if I wished to become a gynecologist, she stated that she wouldn't mind because of the money I would be making.

 A month or so later, I broke it off with her.  It wasn't about supporting me in the pursuit of my passions, it was about how much money I could bring her.

 A relationship should be a mutual partnership, with both parties fully aware and appreciative of their own value and what their partner brings to the table.  You don't go into a relationship thinking you can change the other person, you go into it embracing their flaws. As tattooers, we can be very "flawed", especially when held to the standards of the 9-5 world.  Your partner has to know, and appreciate, the life you live; long hours, inconsistent income, late nights, the "party-element" without the party, and your dedication to craft.  This is a hard pill to swallow for most people.  We often make the mistake of thinking we can change our partners, that one day we will hit our stride in our careers and they will learn to appreciate and support us.  It is a wonderful dream, but clinging to it will probably lead to more frustration for all parties involved.

 That frustration can lead to problems in your work.  From just being unable to enjoy the job because of troubles at home to drama that can happen when the significant other decides to lose-it at your shop, a relationship with the wrong person can damage your career.  Ask yourself if your significant other believes or has even stated any of the following:

  Is your job "just a hobby", "not real", or "easy"?

 This is indicative of someone who has no awareness of what it takes to be a tattooer.  They are oblivious to the long hours, the frustration of not having a consistent income, the haggling with customers who under-value your work.  They have no appreciation of the commitment-to-craft it takes to be a tattooer.  Often, the problem is that they are envious of your job, especially when they are unhappy in their own work.  Misery loves company, and they would rather you join them in their suffering than try to enjoy and be a part of your pursuit of happiness.

 Is there "no money" in tattooing?

 We know this is simply bullshit.  The average tattoo artist makes $30,000 to $50,000 a year.  The problem for most people in a relationship with a tattooer is that the income is inconsistent.  Some months you might make several thousand dollars, others only a few hundred.  Meanwhile, they have an income they can count on.  When they count on you, the tattooer, to consistently help with the bills and you have a bad month, this leads to problems if you are not prepared.  

 Frankly, this is more the fault of the tattooer than the partner.  In an ideal world, you as a tattooer would not be in a situation where someone was relying on you financially until you saved some money and learned to manage your inconsistent income.  That can take a couple of years for a new tattooer, maybe more.  It is far easier for your partner to deal with the lean-times as a tattooer if you have already prepared for them on your own in advance. If you are a tattooer who is relying on someone else to augment your income, then you deserve the troubles you have.

 "All you think about is work" and they want to party.

  This is the death-knell of a tattooer's relationship.  That partner that in the beginning thought it would be cool to date a tattooer and hang-out at a tattoo shop, only to discover that there are long hours, and while we have fun, it is still a business.  The social-status of dating a tattooer suddenly doesn't mean much when your friends are partying and your tattooer-partner cannot go with you. They may enjoy the money you are earning, but not the work that is behind it.  When the attention that you give them is not enough, be prepared for them to start seeking that attention elsewhere.

 On the flip-side of this is expecting your partner to cater to you while you are at work. They deserve to have a life as much as you, and you made the choice to live that life in a tattoo studio.  They did not.  Being okay with your partner going to the clubs with his or her friends takes a great deal of either trust or apathy.  Expecting them to run your errands for you while you are at the shop is almost as bad as expecting them to pay your bills.  A relationship is a two-way street, and if you both have problems with that, you may want to re-think the whole thing.

 Are your clients and co-workers beneath them, or have they said they don't like tattoos?

 First of all, it is a real testament to your game if you are covered with tattoos and work as a tattooer and someone who has a contemptuous view on tattoos and tattooed people is dating you.  The resentment from this situation is just going to fuel both you and your partner's frustration.  Again, it suggests a lack of appreciation for your career; it is more than what you do, it is who you are.  They may think things will be great when you "grow out of tattooing", while you know you will be doing this for the rest of your life.  It is unlikely that either of you will come around to the other person's way of thinking.

 Your money is their money.

 In a relationship, you should share most things.  For many tattooers, it is nice to have a partner who manages your income and handles your bills.  The problem we often run into is when our partners see us as an ATM for their party-life, or we expect them to work miracles with what little we have.  You have to both know what you are getting into when you join incomes and trust one another with your expenses.  You are each far better off knowing you can manage your own bills rather than relying on one another's income.  

 They don't trust you with attractive clients.

 This is a deal breaker.  As tattooers, we often have clients who are enhancing their body-image with art.  Often, when a client wants to enhance their body, they have a body they want to show-off.  If your partner is insecure about themselves and their own image, then this could lead to trouble,  Furthermore, if you met your partner when they were getting a tattoo in your chair, then they know the opportunity exists.  This is just one of the reasons it is a bad idea to date a client.  It takes maturity and trust, on the part of both you and your partner, to overcome this problem.

 The tattoo lifestyle caters much more to dating than being in a relationship.  Tattooers live a life that is outside what many people expect from a significant-other, often move from one location to another, and are not as "available" as many people with a romantic interest would like.  Being focused on our careers and art is also often hard for someone else to deal with, especially if they want that focus to be on them. Until you are in a fairly stable situation, you will need someone who is extremely understanding and well aware of what they are getting into if you get into a relationship. 

Jason Sorrell is a writer, tattoo artist, satirist, artist, and generally nice guy living in Austin, TX.  He loves answering questions about tattoos.  Shoot him a message at https://www.facebook.com/tattoonerdz/